I said, “Do you belong to the ASMP?” “Oh, no, I don’t want to belong to that. His interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. ASMP: That’s the way to travel. Buildings—the slowest and stillest … Ezra Stoller Photographs of Architecture, 1939-1980 : [exhibition] Max Protetch Gallery, New York, New York, December 4, 1980 to January 12, 1981 Author : Ezra Stoller Someone said that Cooper Union might give us some space; he knew the guy. He was drafted in 1942 and worked as a photographer at the Army … Grands Architectes Spectres Lieux Photographie Architecture Classique Louis Kahn Eero Saarinen Renzo Piano Frank Lloyd Wright. Ezra Stoller (1915-2004). ASMP: Mili used to sneer every time he went by that building; he thought it was not functional. ASMP: So you have an honorary membership in the …. Stoller: Well, he elevated them. The magazines were slowly going under, were dying, and were stopping the big magazine photography. I got the first medal they ever gave, but when they start giving them out to worms like this, they lose all meaning. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Stoller: The New York members function a little differently. Ezra Stoller was a american architecture photographer who was born in Chicago in 1915. A spectacular visual biography of one of the most celebrated architects and cultural icons of the twentieth century. And they knew he meant texture, and they hated him for that. He was uniquely able to visualize the formal and spatial aspirations of modernist architecture. The guys had no place to turn, no place to go to. It’s like a typewriter,” said Ezra Stoller in an interview in 1991. Then finally what happened was that the Board of Governors said, “If you don’t stop feeding Infinity with all the resources of the Society, we’re just going to have to go to court.” So I said, “Fine, I would love to do something, but you have to help me.” Well, nobody helped. Stoller is often cited in aiding the spread of the Modern Movement. In other words, they have a lot of problems; a lot of things go wrong. ASMP: I’d like to know about the Welfare fund. How did you usually get them? ASMP: Do you usually pre-edit your work or do you usually deliver what you’ve shot? ASMP: Is that a unique camera? Stoller: I don’t know if he respected anybody, but I got along with him. 1 1 1 1. ASMP: Have you had an exhibition of your work recently? I was so irate and so upset when I first saw it that I fired a letter off to the publisher — “It’s the kind of book that neither of us could be proud of” — that’s how bad I thought it was. Ezra Stoller's interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. I had nobody else. Ezra Stoller - Salk Institute (Louis I. Kahn), 1977. Expenses have to come off first, and that generally is half the cost of a job. ASMP: Was it your feeling then that it was a social organization? ASMP: When do you think that you joined the ASMP? They sent me a contract and it took six months, and their excuse was that mine was such a special relationship. Carry it on. In my case it was especially pertinent, because I’d work for magazines and do a half-dozen assignments on one trip. Are there any instructions that you have?” A telegram came back that said, “Ezra will know.” That’s what my relationship with him was. After his graduation in 1939, he concentrated on … (Text by William Saunders; published by Harry N Abrams in 1990 and reissued 1999; costs about $35 used, $75 new.) Stoller: No, a friend of mine, Gordon Bunshaft, an architect, is on the board of the Modern Museum with Paul Gottlieb, who’s the head of Abrams now. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Stoller: They could sell them, give them away, do whatever they wanted. And there’s another guy, Krier, you may have seen the article by him. "Ezra Stoller: A Photographic History of Modernism, offers an unprecedented exploration of his archive and what made his images so captivating. After his graduation in 1939, he concentrated on photography. Esto has also partnered with Artstor to share the archive of Wayne Andrews. You see, IBM had budgets like anybody else — until you got up on the corporate level. Stoller: I recently met a photographer in Miami. But of course, the membership voted to discontinue it, and that’s what finally did it. Ezra Stoller (1915-2004) Miami Parking Garage, 1948. American. He used to send down to the writers and ask, could he have more text for this page? At that point, things had changed; the magazines were no longer important, they were becoming less important. ASMP: And you can use it in the same ways that you do the other ones? Discover (and save!) Ezra Stoller was born in Chicago in 1915, grew up in New York and studied architecture at NYU. Artist file : miscellaneous uncataloged material. What I should have done was gone to the publisher and said, “I better have another editor. Established in 2000, Yossi Milo Gallery is dedicated to providing a platform for an influential community of artists working in all media, including photography, painting, sculpture, video and drawing. Stoller: It’s 2¼ by 3¼, built on a frame of a standard camera. Stoller: Sure, I always had a problem. Biography. Some photographers do get $1,600, but that isn’t paid until later on. STOLLER, EZRA. 1915, Chicago, Illinois. They were always told by the architects, “Yes, you can have this job if Stoller does it.” Much as they hated it, I’d be going out on jobs for two rival magazines at the same time and prorating the expenses. But then, as somebody said, “Yes, it’s accidental, but the same good accidents happen to the same people all the time.” The secret is to deliver more than they ever expected to see, and more than they even think they’re paying for. There are still some good publishers, and they desperately try to keep up their reputation. Photographs are mobile and reproducible. Stoller: Well, I went down there. And it encourages the client to commission more work because it’s not going to cost him that much. “There’s no such thing as embarrassment to me.”. He said it was up around 98 percent. © 2021 American Society of Media Photographers, Inc. Center for the Protection of Intellectual Property, What It Was Like to Assist Master Photographer Irving Penn, Alice Rose George, a ‘Photographer’s Dream Editor,’ Dies at 76, Introducing a New Member Benefit from PixOasis, Nick Ut: Why I Accepted Trump’s Medal Of Arts. I think what he was doing was showing them space, and they asked him about the rate of occupancy at Rockefeller Center. In his later years, Stoller founded Esto Photographics, a commercial photography firm currently directed by his daughter Erica Stoller. This printer was just an executive who was the head of a printing company; he was involved with other companies as well. Stoller: Yes, knowing what it should have been, I still don’t think it’s up to snuff. Ezra Stoller photographed some of the twentieth century's most iconic buildings, including Ludwig Mies van der Rohe's Seagram Building, Frank Lloyd Wright's Falling Water, and Louis Kahn's Salk Institute. Interview and transcript © 1991 by Kay Reese & Mimi Leipzig. Ezra Stoller have position among the list of 2433 famous Photographer. I guess he was building himself up for something, his own portfolio, but it was dreadful. And Bunshaft engineered this thing. Krier is the one that’s doing the job for the Prince of England. ASMP: Has the copyright law made a difference in your business? And if you don’t like New York skyscrapers, it’s not the fault of the architect, it’s the fault of the culture. But I never did get that far, I never got to publish any, because I discovered the shortcomings of my shoot: There weren’t enough pictures. ASMP: So, when you say building something, you mean building a building? ASMP: That must have given you a little bit of a high to do that. But [the executive secretary] was interested in film and felt that he could get a man like Haskell Wexler into the Society. If I look back at it, I wonder if I could do that again. An Interview with Ezra Stoller May 30, 1991. Stoller: I had thought at one point that the ASMP could have held a position very much like ASCAP. Published by Princeton Architectural Press, the series contains several monographs presenting a single building in detail. Some of it’s an area that I talk quite a lot about and manage to antagonize a lot of writers. He was drafted in 1942 and worked as a photographer at the Army Signal Corps Photo Center during the Second World War. I thought, well, that’s a good thing to do. And the whole nature of the Society was changing. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. At that point, magazine photography was no longer what it was all about. Every year we would do that. This book I like very much. Silver Gelatin Print - 12 x 10.25. We were there and one evening there was this phone call. And the position of the Society was to assure you of certain minimums. Stoller: Since that time, they probably have become commercially available, but I haven’t kept up with the field. I’ll tell you a little story. ASMP: The Society has fought its way through such a lot and then, in the end, came up with $64,000 to help lobby to get the copyright law finally passed. The parts are standard. In ‘38 and ‘39, if you wanted 8×10 enlargements you had to go to people like photostat houses and you got quality that was about photostat quality, so we had our own. Whatever kind of photographs they’re going to make, it’s always that eye and that brain that create the image. And that was the condition of the Society at that point. ASMP: So you don’t use the 8×10 cameras at all anymore? ASMP: And the ASMP then protects the photographers’ rights…. On an assignment that you might cover in 12 or 16 pictures, you probably could use 100 pictures of details and odds and ends for a film strip. Stoller: You know, people who work for those magazines, they’re no-account people. A monograph of his work, Modern Architecture: Photographs Of Ezra Stoller, published in 1990, wasreissued in 1997. He would never lay out a story until the pictures were in. American. I knew Harry Abrams; I used to meet him at a friend’s house. Architectural photographer Ezra Stoller was born in Chicago on May 16, 1915. During World War II, he taught photography at the … If you know of a situation that is reported in a newspaper, how often do they get it right according to your knowledge? And when I called them, I asked about that. His interest in photography began while he was an architecture student at New York University, when he began making lantern slides and photographs of architectural models, drawings and sculpture. He had a folding beach chair; he’d go in the office, lock the door and sleep. Esto collaborates with a number of agencies in Europe. You see, I had these magazine accounts, which were voracious; they always kept me busy. Learn more at Author Central. Découvrez des faits intéressants concernant Ezra Stoller sur artnet. But, you see, everybody has his own agenda. They can do the same thing — they’ve always been able to do the same kind of work — with an air brush and one thing and another, but the basic rights of the guy who sees and creates the image are always going to be the same. But my own particular strength was, I was rarely the choice of the editors who hired me. Stoller: Many of them have studios to maintain and they’re very expensive. Stoller: I have three, but I don’t use them any more. But now the outfit is owned by the L.A. Times-Mirror and, as far as I can tell, it’s administered by the same bookkeepers who ran the savings-and-loan places out there. Ezra Stoller was born in Chicago on May 16, 1915. View Ezra Stoller’s 76 artworks on artnet. Stoller is survived by his wife Helen, two sons and a daughter. It had to sink or swim. Stoller: Time, Inc. (not Time Magazine) at one point offered to pay me more than the price that had been negotiated, because they thought the job was so good. First they spend an inordinate amount of time telling you how the relationship between the editor and the photographer is one of trust. And Wright came back and said, “Young man, do you think people are going to come to my museum to look at pictures?” So that really said it all. The photo archive provides a comprehensive survey of High Modern and contemporary architecture. Now it’s a field that’s bigger than magazine advertising. I knew no other photographers, as a matter of fact; I was curious as to some of them and got to meet them. A picture was stolen, and the insurance paid for the whole thing. During WWII he worked with photographer Paul Strand at the Army Signal Corps Photo Center. We got along very well, and he told me, “We’re going to have to sue you people, because we can’t afford to carry this.” And [the editor] had no hesitation to promise him more and promise him more, and he was getting deeper and deeper into it. Ezra Stoller’s most popular book is Paul Rudolph: The Florida Houses. That wasn’t the function of the Society; it wasn’t to get those fancy people in it. Ezra Stoller was born in Chicago in 1915 and studied architecture at New York University. Ezra STOLLER (1915-2004) is an artist born in 1915 The oldest auction result ever registered on the website for an artwork by this artist is a photography sold in 1997, at Swann Galleries, and the most recent auction result is a photography sold in 2019. Architectural photographer Ezra Stoller was born in Chicago on May 16, 1915. During World War II, he taught photography at the … He tried to get me to come out and be the court photographer. The reason I had such respect for Burtin is he had that same attitude. And whatever standards we had, the young people, who were just coming up, would always cut below the standards; they had to have the work. Ezra Stoller - TWA Building, Idlewidle Airport, 1962. So he put the money into a fancy book. ASMP: That’s a very neat way of shooting, too. He was apparently a friend of the Kennedys; he was a very influential guy. “If they give you enough money, you’ll give them the camera!”. I knew none of the other people, none of the other photographers and I was curious about some of them. Fortunately, I wouldn’t. A spectacular visual biography of one of the most celebrated architects and cultural icons of the twentieth century. In 1940-41, Stoller worked with the photographer Paul Strand in the Office of Emergency Management. Whenever I mentioned this new thing, which I would do periodically, their eyes would all glaze over. I used to think of them just as a bunch of taxi drivers, everybody in the business. I’ll do some things with a Hasselblad, but those are all box cameras as far as I’m concerned. Of course there’s such a thing as a buy-out. It was so stupid, and the whole thing became so polarized, and it was so difficult to get anything done, impossible to get anything done. Stoller: No, we have a minimum, which is very low and just covers your time and expenses. New Ezra Stoller Monograph ; Ezra Stoller at Lumiere Brothers Center for Photography ; Ezra Stoller at the Frist Art Museum ; Selected Works. He worked for Western Electric, which was part of the phone company, so he could make phone calls for nothing. I remember some very bloody meetings that I attended. Stoller: First of all, he convinced me that I ought to join. He had a very good idea. His big contribution to the publishing business was getting books into the supermarkets. And I would go to the editor and say “There are certain activities as a Society, there are technical forums and conferences, that would be good if we wrote about in Infinity.” He disregarded all of that; he insisted on writing film criticisms. Stoller: I get it on the 11th of this month. He doesn’t have any capital; he can’t give people proper advances. November 18, 2004. The Lumiere Brothers Center for Photography is presenting to the Russian public, for the first time, the work of the outstanding American architectural photographer of the 20thcentury—Ezra Stoller. ASMP: In retrospect, is it as bad as you thought it was when you first saw it? Philip Johnson Ian Volner AUD$195.00 … Stoller: It took them six months to get the contract. When World War II ended he continued as a architecture Photographer. from Ezra Stoller's 1947 series "Power in the West"- Grand Coulee Dam, Columbia River, WA. And, at that point I got to know those people fairly well, and, again, there were some better and some worse. The whole business of being president and what efforts I made were all wiped out by that whole Infinity brouhaha. Stoller: No, there are people who have been trained in the law that are just naturally suspicious. EZRA STOLLER (1915-2004) STOLLER, EZRA (1915-2004) "Main Gallery and Exhibition Ramps of the New Solomon R. Guggenheim Museum, … “I was rarely the choice of the editors who hired me.”. 1915, Chicago, Illinois 2004, Williamstown, Massachusetts . ESTO - founded in 1966 by Ezra Stoller now headed by his daughter, Erica Stoller. Ezra Stoller, a celebrated architectural photographer whose work introduced the viewing public to the high modernism of the postwar era, died on … From 1971 to 1973, he served as ASMP’s president. Very often, I can understand what they’re trying to do, and so I photograph it from the point of view of what they were trying to say, rather than what it might actually be. Ezra Stoller (16 May 1915 – 29 October 2004) was an American architectural photographer. “It’s no good to be occupied over 90 percent.”. Stoller: Well, it’s an attachment on a building, which is an attachment on something else. ASMP: When you were talking about minimums, what kind of minimums were you talking about? ASMP: So, did you deliver on your deadlines? Stoller: Well, not carry it on; it’s a little big for that. Ezra Stoller photographed some of the twentieth century's most iconic buildings, including Ludwig Mies van der Rohe's Seagram Building, Frank Lloyd Wright's Falling Water, and Louis Kahn's Salk Institute. Stoller: Once, an editor called Frank Lloyd Wright and said to him, “We’re having Stoller do this job. Take Elizabeth Gordon. Stoller: One guy thinks the name should be changed, so…. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Mon Compte. I asked him why. Nice, but not something you could do on an assignment. I, on the other hand, could almost only work on assignment. Kay Reese and Mimi Leipzig, ASMP. He writes about this wonderful town that he’s doing and how modern architecture …. Stoller is survived by his wife Helen, two sons and a daughter. Stoller: I would never deal with them again. If modernism sought to give us Le Corbusier’s “machine for living in,” photographer Ezra Stoller, who died in 2004, used the camera as a machine for living through. ASMP: ASMP’s Guide to Business Practices clarifies a lot of these issues. ASMP: Abrams did the National Geographic anniversary book and ran into a lot of arguments and trouble. Ezra Stoller was the first photographer to receive the American Institute of ArchitectsGold Medal in 1961, with the wording “the chief enabler of our experiences of Modern architecture”. The telephone was about a half-mile away, so I had to run down the hill. And one of the ways was, of course, what I told you about: revamping the whole system, because it needed it. It is a high quality book showing the tonalities to advantage, and as a bonus gives equipment details and some biography. And there were two Catholic magazines, Liturgical Hearts, and this was over and over again. His brilliant … He graduated in 1938 from the School of Architecture and Allied Arts at New York University, where his interest in photography began. ASMP: That was certainly a big fight. Stoller: Well, it just was an accident. The title of Adams book suggests as much. Even Bradley Smith. He graduated in 1938 from the School of Architecture and Allied Arts at New York University, where his interest in photography began. Stoller: I was an independent figure because I had my own clientele. After his graduation in 1939, he concentrated on photography. I had the jobs. I never had time to do things on my own. ASMP: Did you ever have any problems delivering the work that you’d done? Especially: photography. Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. I thought they should be absolutely free of those worries, so that they could concentrate on the job. It was saddled with a publication called Infinity, which absorbed all the money the Society had. Because he had excellent personal relationships with leading architects, Stoller was tapped in the mid-’60s to represent ASMP photographers in discussions with the American Institute of Architects about standard practices for credits and licenses in the publication architectural images. Eventually we decided that no more money could be poured down this drain, this bottomless pit of Infinity. What I resent especially is that MIT Press wanted to run it …. ©The Ezra Stoller Archive/Esto Chase Manhattan Bank, 1961 Then again, from roughly 1955 on, Bunshaft was SOM and vice versa. Stoller's photographs are featured in the books Modern Architecture: Photographs by Ezra Stoller and Ezra Stoller, Photographer. I never did get to know terribly many of them, even when I became an officer of the Society, because you don’t normally, in the normal course of events, get to meet very many people. This particular edition is in a Hardcover format. He would never suggest pictures for his story before he sent me out on assignment. But my point was to encourage people to work and not deliberately break the Code, which they were doing all the time. Stoller: The very first thing is, the man gets his expenses. The amount of talk was just phenomenal. Finden Sie Kunstwerke und Informationen zu Ezra Stoller (amerikanisch, 1915-2004) auf artnet. And I heard Wright say to somebody who has had something to say about the Guggenheim — He’d just come from Paris and he’d seen a temporary exhibit. There was a photographer around who had a studio on the East Side. He was dreadful. One of the people I knew in the Army — Pimper, his name was; we all were instructors out there at the Army Signal Corp Photo Center — came around and convinced me that I ought to join. And I don’t know how I got all this work done before. And that’s a mistake; there’s no such thing as embarrassment to me. Stoller: At the moment, I’m building something. 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